王铎是明清时期大幅长轴书法代表书家之一，对后世书法影响深远。其书论文章留世较少，而题跋内容可以反映书家的学书思想，社会背景等，为研究者提供一些史料价值。王铎题跋种类较多，其中涉及鉴赏、杂文、书法、绘画等。该文主要将王铎书法题跋进行梳理释读，通过王铎的题跋内容探讨王铎的书学思想。 首先，王铎一生交友广泛，我们从题跋内容可以看到，王铎与董其昌以及同时期的著名书家，鉴赏家王光暘、孙承泽、王鹏冲等，他们在一起欣赏书画，互赠作品，饮酒赋诗，交流思想。其次，王铎在书法上一直推崇学古，取法二王、《集王圣教序》《兰亭序》《淳化阁帖》等，并对其题跋并临习，在不同时期对同一件作品也题跋过几次，内容均不相同，通过王铎对该作品的不同临本，分析不同时期对同一作品临本的异同。在对其作品整理时发现，其实王铎在书法学习过程中取法非常广泛，对一些小众书家作品也有临习，并且对不同书体均有涉猎，但对篆书和隶书的学习较晚，对篆书评价较高。因王铎书法题跋较多，所以本文对一部分题跋按朝代先后顺序进行分类，分为书法题跋法帖类、品评类、鉴藏类。品评类又分为对作品的评价和对书家的评价，品评观点褒贬不一，代表了王铎对作品的个人观点。除品评作品外，王铎个人也爱收藏，常与朋友一起鉴赏书画，并进行题跋，内容有对作品真伪的评价，作品版本、时期的判定，还有一些品评词语等，题跋内容也反映了他的鉴赏观。同时还能通过王铎题跋作品内容看王铎的取法对象，如对张芝、二王、米芾、颜真卿等书家的学习，通过其临习作品进行证明取法对象，总结王铎对于书法的临摹观以及崇古观。再通过对王铎书法题跋内容整理时发现，王铎在题跋中反复强调其书法独宗二王，所以将不同时期王铎对二王作品的临习数量来整理分析王铎是更推崇王羲之书法，还是更推崇王献之书法。通过对王铎书法题跋的梳理分析，我们还可以清晰的看到王铎学习书法的脉络。最后，将王铎的题跋书法和王铎的创作书法作品进行本体分析，在笔法、墨法、结构、风格方面比较异同。 王铎书风在一定程度上影响到当代习书者的取法趋向，本文通过对王铎书学思想的分析总结，对我们在学书道路上有一定启示，不同时代语境下要有不同的创新，学习古人也不能全盘肯定，要有自己的理解与出新。
Wang Duo was one of the representative calligraphers of the Ming and Qing dynasties, and he had a profound influence on later generations of calligraphy. While his essays on calligraphy are scarce, the content of his colophons can reflect the calligrapher‘s thoughts on studying calligraphy, social background, and provide some historical value for researchers. Wang Duo‘s colophons cover various topics, including appreciation, miscellaneous essays, calligraphy, and painting. This article mainly aims to sort out and interpret Wang Duo‘s colophons on calligraphy, and explore his thoughts on calligraphy through the content of his colophons.Firstly, Wang Duo had a wide circle of friends, as can be seen from the content of his colophons. He interacted with famous calligraphers and connoisseurs of the same period, such as Dong Qichang, Wang Guangyang, Sun Chengze, and Wang Pengchong. They enjoyed calligraphy and painting together, exchanged artworks, wrote poems while drinking, and shared ideas.Secondly, Wang Duo always advocated studying ancient calligraphy and drew inspiration from the “Two Wangs” （Wang Xizhi and Wang Xianzhi）, as well as famous calligraphic works such as the ＂Ji Wang Sheng Jiao Xu＂ ＂Lanting Preface,＂ and ＂Chun Hua Ge Tie.＂ He wrote colophons and practiced calligraphy based on these works, and at different times, he wrote colophons for the same artwork several times, each with different content. By analyzing Wang Duo‘s different copies of the same work from different periods, we can analyze the similarities and differences in his copies of the same work. During the process of organizing his works, it was discovered that Wang Duo drew from a wide range of sources in his study of calligraphy. He also practiced calligraphy by lesser-known calligraphers and explored various script styles. However, his study of seal script and clerical script came later, and he held a high opinion of seal script. Due to the large number of Wang Duo‘s colophons, this article categorizes a portion of the colophons in chronological order, dividing them into categories such as calligraphy colophons on model works, evaluation, and collection. The evaluation category is further divided into evaluations of artworks and evaluations of calligraphers. The evaluations vary in praise and criticism, representing Wang Duo‘s personal opinions on the artworks. In addition to evaluating works, Wang Duo also had a personal interest in collecting and often appreciated calligraphy and painting with his friends. He wrote colophons expressing his views on the authenticity of works, determining the versions and periods of artworks, as well as providing various evaluative expressions. The content of the colophons also reflects his connoisseurship. Furthermore, by examining the content of Wang Duo‘s colophons, we can identify his sources of inspiration, such as his study of calligraphers like Zhang Zhi, the “Two Wangs”, Mi Fu, and Yan Zhenqing, which can be proven through his copied works. This helps to summarize Wang Duo‘s perspective on copying and his reverence for ancient works. Additionally, during the process of organizing Wang Duo‘s colophons, it was found that he repeatedly emphasized his unique style derived from the “Two Wangs”. Therefore, this article analyzes and compares the quantity of Wang Duo‘s copies of works by the “Two Wangs” at different periods to determine whether Wang Duo favored the calligraphy of Wang Xizhi or Wang Xianzhi more. Through the analysis and organization of Wang Duo‘s colophons on calligraphy, we can gain a clear understanding of his development in the study of calligraphy.Finally, this article conducts a comparative analysis.
